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Count Basie Orchestra

December 15, 2023

The Count Basie Orchestra is a 16- to 18-piece big band, one of the most prominent jazz performing groups of the swing era, founded by Count Basie in 1935 and recording regularly from 1936. Despite a brief disbandment at the beginning of the 1950s, the band survived long past the big band era itself and the death of Basie in 1984. It continues under the direction of trumpeter Scotty Barnhart.

The Count Basie Orchestra
The Count Basie Orchestra with vocalist Ethel Waters from the film Stage Door Canteen (1943)
Background information
OriginKansas City, Missouri
GenresJazz, big band, swing
Years active1935–present
Websitethecountbasieorchestra.com

Originally including such musicians as Buck Clayton and Lester Young in the line-up, the band in the 1950s and 1960s made use of the work of the arranger Neal Hefti and featured musicians such as Thad Jones and Eddie "Lockjaw" Davis. Its recordings of this era included collaborations with singers such as Frank Sinatra and Ella Fitzgerald.

History edit

Early years edit

Count Basie arrived in Kansas City, Missouri in 1927, playing on the Theater Owners Booking Association (TOBA) circuit.[1] After playing with Walter Page's Blue Devils, in 1929 he joined rival band leader Bennie Moten's band.[2]

Upon Moten's death in 1935, Basie left the group to start his own band, taking many of his colleagues from the Moten band with him. This nine-piece group was known for its legendary soloists including, Joe Keyes and Oran 'Hot Lips' Page on trumpet, Buster Smith and Earle Warren on alto saxophone, Lester Young on tenor saxophone, Dan Minor on trombone, and a rhythm section made up of Jo Jones on drums, Walter Page on bass and Basie on piano. With this band, then named The Barons of Rhythm, Basie brought the sound of the famous and highly competitive Kansas City "jam session" to club audiences, coupling extended improvised solos with riff-based accompaniments from the band. The group's first venue was the Reno Club[3] in Kansas City, later moving to the Grand Terrace in Chicago.

When music critic and record producer John Hammond heard the band on a 1936 radio broadcast, he sought them out and offered Basie the chance to expand the group to the standard 13-piece big band line-up. He also offered to transfer the group to New York City in order to play at venues such as the Roseland Ballroom. Basie agreed, hoping that with this new band, he could retain the freedom and spirit of the Kansas City style of his nine-piece group.

The band, which now included Buck Clayton on trumpet and the famous blues "shouter" Jimmy Rushing, demonstrated this style in their first recordings with the Decca label in January 1937: in pieces such as "Roseland Shuffle", the soloists are at the foreground, with the ensemble effects and riffs playing a strictly functional backing role.[4] This was a fresh big band sound for New York, contrasting the complex jazz writing of Duke Ellington and Sy Oliver and highlighting the difference in styles that had emerged between the east and west coasts.[5]

New York City edit

Following the first recording session, the band's line up was reshuffled, with some of players being replaced on the request of Hammond as part of a strengthening of the band.[6] Trumpeters Ed Lewis and Bobby Moore replaced Keyes and Smith, and Earle Warren replaced the alto saxophonist Coughey Roberts. In March 1937 the guitarist Freddie Green arrived, replacing Claude Williams and completing what became one of the most respected rhythm sections in big band history.[7] Billie Holiday also sang with the band during this period, although she never recorded with them for contractual reasons.

Hits such as "One O'Clock Jump" and "Jumpin' at the Woodside" (from 1937 and 1938, respectively) helped to gain the band, now known as the Count Basie Orchestra, national and international fame. These tunes were known as "head-arrangements"; not scored in individual parts but made up of riffs memorized by the band's members. Although some of the band's players, such as trombonist Eddie Durham, contributed their own written arrangements at this time, the "head-arrangements" captured the imagination of the audience in New York and communicated the spirit of the band's members.[8]

In 1938, Helen Humes joined the group, replacing Billie Holiday as the female singer. She sang mostly pop ballads, including "My Heart Belongs to Daddy" and "Blame it on My Last Affair", acting as a gentle contrast to the blues style of Jimmy Rushing.

1940s edit

The band became increasingly dependent on arrangers to provide its music. These varied from players within the band, such as Eddie Durham and Buck Clayton, to professional arrangers from outside the group, who could bring their own character to the band with each new piece. External arranger Andy Gibson brought the band's harmonic style closer to the music of Duke Ellington, with arrangements from 1940 such as "I Never Knew" and "Louisiana" introducing increased chromaticism to the band's music. Tab Smith contributed important arrangements at this time, such as "Harvard Blues", and others including Buster Harding and veteran arranger Jimmy Mundy also expanded the group's repertoire. Thelma Carpenter replaced Helen Humes as the new female vocalist, notably recording "I Didn't Know About You" for Columbia Records.[9]

But the many new arrangements led to a gradual change in the band's sound, distancing the group musically from its Kansas City roots. Rather than the music being built around the soloists with memorised head arrangements and riffs, the group's sound at this time became more focused on ensemble playing; closer to the East Coast big band sound. This can be attributed to the increasing reliance on arrangers to influence the band with their music. It suggested that Basie's ideal of a big band-sized group with the flexibility and spirit of his original Kansas City 8-piece was not to last.[10]

During the World War II years, some of the key members of the band left: the drummer Jo Jones and tenor saxophone player Lester Young were both conscripted in 1944, leading to the hiring of drummers such as Buddy Rich and extra tenor saxophonists, including Illinois Jacquet, Paul Gonsalves and Lucky Thompson. The musicologist Gunther Schuller has said that when Jo Jones left, he took some of the smooth, relaxed style of the band with him. Replacements such as Sonny Payne, drummed much louder and raised the dynamic of the band to a "harder, more clamorous brass sound."[11] The ban on instrumental recordings of 1942-1944 adversely affected the finances of the Count Basie Orchestra, as it did for all big bands in the United States. Despite taking on soloists from the next generation such as Wardell Gray, Basie was forced to temporarily disband the group for a short period in 1948, before dispersing again for two years in 1950. For these two years, Basie led a reduced band of between 6 and 9 people, featuring performers such as Buddy Rich, Serge Chaloff and Buddy DeFranco.

The 'Second Testament' edit

Basie reformed the jazz orchestra in 1952 for a series of tours, not only in the United States, but also in Europe in 1954 and Japan in 1963. The band released new recordings, some featuring guest singers such as Joe Williams, Frank Sinatra, Ella Fitzgerald and Billy Eckstine. All relied on contributions from arrangers, some of whom are now synonymous with the Basie band: Neal Hefti, Quincy Jones and Sammy Nestico. Michael G. Nastos wrote of the recording with Eckstine:

"When the Count Basie Orchestra consented to team up with vocalist Billy Eckstine, choruses of angels must have shouted hallelujah. The combination of Basie's sweet jazz and Eckstine's low-down blues sensibilities meshed well on this one-shot deal, a program mostly of downtrodden songs perfectly suited for the band and the man."[12][13]

This new band became known as "The New Testament" or "The Second Testament".[14] With albums such as The Atomic Mr. Basie (1958), April in Paris (1957) and Basie Plays Hefti (1958), the new Count Basie Orchestra sound became identifiable. The sound of the band was now that of a tight ensemble: heavier and more full bodied, contrasting with the riff-based band of the late 1930s and early 1940s. Whereas previously the emphasis had been on providing space for exemplary soloists such as Lester Young and Buck Clayton, now the focus had shifted to the arrangements, despite the presence of soloists such as trumpeter Thad Jones and saxophonist Frank Foster. This orchestral style continues as the typical sound of the band up to the present day, which has been criticized by some musicologists. In his book The Swing Era, Gunther Schuller described the group as "perfected neo-classicism...a most glorious dead end."[15] However, jazz critic Martin Williams offers a differing view. In his book Jazz Heritage, Williams wrote the following about a 1959 recording: " . . . obviously this Basie orchestra is an ensemble whose virtues center on discipline, precision, and collective power."[16] In his book The Jazz Tradition, Williams wrote:

"Since the mid-'fifties, the Count Basie Orchestra has been a superb precision ensemble, and perhaps the greatest brass ensemble of the century. And that fact adds an irony to a distinguished career, for it was not always such."[13]

Continuing band edit

The Count Basie Orchestra continued releasing recordings and albums after Basie's death in 1984. For example, Basie is Back (2006) features new recordings of classic tunes from the Basie Orchestra's catalog, including the band's early hit "One O'clock Jump," and "April in Paris." The Basie band still collaborates with high-profile singers such as Ray Charles in Ray Sings, Basie Swings (2006), and with Allyn Ferguson on the album Swing Shift (1999). After Basie's death the band played under the direction of some of the players he had hired, including Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel. The band is currently under the direction of trumpeter Scotty Barnhart.

Leaders of the Count Basie Orchestra edit

Awards and honors edit

  • 2007- Long Island Music Hall of Fame
  • 2005- Inducted, Nesuhi Ertegun Jazz Hall of Fame
  • 2002 Lifetime Achievement Award
  • 1984- Best Jazz Instrumental Performance Big Band 88 Basie Street
  • 1983- Winner NEA Jazz Masters
  • 1982- Best Jazz Instrumental Performance, Big Band Warm Breeze
  • 1981- National Trustees Award
  • 1981- Honoree, Kennedy Center Awards
  • 1981- Honoree, Hollywood Walk of Fame
  • 1980- Best Jazz Instrumental Performance, Big Band On The Road
  • 1977- Best Jazz Performance By a Big Band Prime Time
  • 1976- Best Jazz Performance by a Soloist (Instrumental) Basie and Zoot
  • 1970- Initiated in Phi Mu Alpha Sinfonia
  • 1963- Best Performance by an Orchestra- For Dancing This Time By Basie! Hits of the 50s and 60s
  • 1960- Best Performance by a Band for Dancing Dance With Basie
  • 1958- Best Performance by a Dance Band- Basie (The Atomic Mr. Basie)
  • 1958- Best Jazz Performance, Group- Basie (The Atomic Mr. Basie)

[22]

Discography edit

For recordings by Count Basie without his big band, see Count Basie discography.

1937–1939, Brunswick and Decca labels edit

1939–1950, Columbia and RCA labels edit

  • Super Chief (1936–1942, Columbia)
  • The Complete Count Basie, Volumes 1-10 (1936–1941, CBS)
  • The Complete Count Basie, Volumes 11-20 (1941–1951, CBS)
  • Count Basie, Volume 1: The Count and the President (1936–1939, CBS)
  • Count Basie, Volume 2: Lester Leaps In (1939–1940, CBS)
  • Count Basie, Volume 3: Don for Prez (1940–1941, CBS)
  • Count Basie, Volume 4: One O'Clock Jump (1941–1942, CBS)
  • Count Basie, Volume 5: Avenue C (1942, 1945–46, CBS)
  • Count Basie, Volume 6: The Orchestra and the Octet (1946, 1950–51, CBS)
  • Count Basie and His Great Vocalists (1939–1945, Columbia)
  • America's No. 1 Band: The Columbia Years (1936–1964, Columbia) 4-CD
  • Complete Original American Victor Recordings (1941–1950, RCA sessions, reissued on Definitive)
  • Kansas City Powerhouse (1929–1932, 1947–1949, RCA/Bluebird)
  • Planet Jazz (1929–1932, 1947–1949, RCA/BMG)

1950s edit

1960s edit

Pablo years edit

Post Count Basie albums edit

References edit

  1. ^ , Club Kaycee, University of Missouri-Kansas City, 1996. archived from the original, 1 June 2009. accessed 8 June 2011.
  2. ^ , Club Kaycee, University of Missouri-Kansas City, 1996. archived from the original, 31 January 2009. accessed 8 June 2011.
  3. ^ , Club Kaycee, University of Missouri-Kansas City, 1996. archived from the original, 13 February 2009. accessed 8 June 2011.
  4. ^ Williams, Martin. "Jazz: What Happened in Kansas City?", American Music, Vol. 3, No. 2. Illinois: University of Illinois Press, Summer 1985. p.176
  5. ^ Schuller, Gunther (1989). The Swing Era. Oxford: Oxford University Press, p. 225
  6. ^ The Swing Era, p.237
  7. ^ The Swing Era, p.226
  8. ^ Jackson, Arthur. The World of Big Bands: The Sweet and Swinging Years, Vancouver: David & Charles, 1977. p.42
  9. ^ "Count Basie and His Orchestra – I Didn't Know About You / Red Bank Boogie (1945, Shellac)". Discogs.
  10. ^ The Swing Era, p.258
  11. ^ The Swing Era, p. 261
  12. ^ Nastos, Michael G. "Count Basie: Basie and Eckstine, Inc". AllMusic. Retrieved August 28, 2021.
  13. ^ a b Williams, Martin The Jazz Tradition New And Revised Edition, New York: Oxford University Press, 1983, p.122
  14. ^ Cuscuna, Michael. Sleeve notes from The Complete Atomic Basie CD, 1994.
  15. ^ Schuller, Gunther The Swing Era, New York: Oxford University Press, 1989, p.262
  16. ^ Williams, Martin Jazz Heritage, New York: Oxford University Press, 1985, p.29
  17. ^ "CBO History". www.thecountbasieorchestra.com.
  18. ^ a b c "Ghost band | Grove Music". www.oxfordmusiconline.com. 2003. doi:10.1093/gmo/9781561592630.article.J166900. ISBN 978-1-56159-263-0. Retrieved 2019-04-04.
  19. ^ Koch, Lawrence (2003). "Hughes, Bill | Grove Music". www.oxfordmusiconline.com. doi:10.1093/gmo/9781561592630.article.J210900. ISBN 978-1-56159-263-0. Retrieved 2019-04-04.
  20. ^ "Dennis Mackrel". dennismackrelmusic.com. Retrieved 2019-04-04.
  21. ^ BWW News Desk. "Scotty Barnhart Named New Director of Count Basie Orchestra". BroadwayWorld.com. Retrieved 2019-04-04.
  22. ^ "Count Basie". GRAMMY.com. 2019-02-15. Retrieved 2019-04-04.
  23. ^ Count Basie Orchestra, All About That Basie. Review by Alex Henderson, NYCJR, April 2019, Issue 204, page 16 - retrieved 4 April 2019.
  24. ^ "New Album 'Live at Birdland' Out September 25th".

Other sources edit

  • Atkins, Ronald, ed. (2000) Jazz: From New Orleans to the New Jazz Age. London: Carlton Books
  • Stowe, David W. "Jazz in the West: Cultural Frontier and Region During the Swing Era", The Western Historical Quarterly, Vol. 23, No. 1. Utah: Utah State University, February 1992.

External links edit

  • Mack Avenue Artist Page


December 15, 2023
count, basie, orchestra, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, se. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Count Basie Orchestra news newspapers books scholar JSTOR September 2012 Learn how and when to remove this template message The Count Basie Orchestra is a 16 to 18 piece big band one of the most prominent jazz performing groups of the swing era founded by Count Basie in 1935 and recording regularly from 1936 Despite a brief disbandment at the beginning of the 1950s the band survived long past the big band era itself and the death of Basie in 1984 It continues under the direction of trumpeter Scotty Barnhart The Count Basie OrchestraThe Count Basie Orchestra with vocalist Ethel Waters from the film Stage Door Canteen 1943 Background informationOriginKansas City MissouriGenresJazz big band swingYears active1935 presentWebsitethecountbasieorchestra wbr com Originally including such musicians as Buck Clayton and Lester Young in the line up the band in the 1950s and 1960s made use of the work of the arranger Neal Hefti and featured musicians such as Thad Jones and Eddie Lockjaw Davis Its recordings of this era included collaborations with singers such as Frank Sinatra and Ella Fitzgerald Contents 1 History 1 1 Early years 1 2 New York City 1 3 1940s 1 4 The Second Testament 1 5 Continuing band 2 Leaders of the Count Basie Orchestra 3 Awards and honors 4 Discography 4 1 1937 1939 Brunswick and Decca labels 4 2 1939 1950 Columbia and RCA labels 4 3 1950s 4 4 1960s 4 5 Pablo years 4 6 Post Count Basie albums 5 References 6 Other sources 7 External linksHistory editEarly years edit Count Basie arrived in Kansas City Missouri in 1927 playing on the Theater Owners Booking Association TOBA circuit 1 After playing with Walter Page s Blue Devils in 1929 he joined rival band leader Bennie Moten s band 2 Upon Moten s death in 1935 Basie left the group to start his own band taking many of his colleagues from the Moten band with him This nine piece group was known for its legendary soloists including Joe Keyes and Oran Hot Lips Page on trumpet Buster Smith and Earle Warren on alto saxophone Lester Young on tenor saxophone Dan Minor on trombone and a rhythm section made up of Jo Jones on drums Walter Page on bass and Basie on piano With this band then named The Barons of Rhythm Basie brought the sound of the famous and highly competitive Kansas City jam session to club audiences coupling extended improvised solos with riff based accompaniments from the band The group s first venue was the Reno Club 3 in Kansas City later moving to the Grand Terrace in Chicago When music critic and record producer John Hammond heard the band on a 1936 radio broadcast he sought them out and offered Basie the chance to expand the group to the standard 13 piece big band line up He also offered to transfer the group to New York City in order to play at venues such as the Roseland Ballroom Basie agreed hoping that with this new band he could retain the freedom and spirit of the Kansas City style of his nine piece group The band which now included Buck Clayton on trumpet and the famous blues shouter Jimmy Rushing demonstrated this style in their first recordings with the Decca label in January 1937 in pieces such as Roseland Shuffle the soloists are at the foreground with the ensemble effects and riffs playing a strictly functional backing role 4 This was a fresh big band sound for New York contrasting the complex jazz writing of Duke Ellington and Sy Oliver and highlighting the difference in styles that had emerged between the east and west coasts 5 New York City edit Following the first recording session the band s line up was reshuffled with some of players being replaced on the request of Hammond as part of a strengthening of the band 6 Trumpeters Ed Lewis and Bobby Moore replaced Keyes and Smith and Earle Warren replaced the alto saxophonist Coughey Roberts In March 1937 the guitarist Freddie Green arrived replacing Claude Williams and completing what became one of the most respected rhythm sections in big band history 7 Billie Holiday also sang with the band during this period although she never recorded with them for contractual reasons Hits such as One O Clock Jump and Jumpin at the Woodside from 1937 and 1938 respectively helped to gain the band now known as the Count Basie Orchestra national and international fame These tunes were known as head arrangements not scored in individual parts but made up of riffs memorized by the band s members Although some of the band s players such as trombonist Eddie Durham contributed their own written arrangements at this time the head arrangements captured the imagination of the audience in New York and communicated the spirit of the band s members 8 In 1938 Helen Humes joined the group replacing Billie Holiday as the female singer She sang mostly pop ballads including My Heart Belongs to Daddy and Blame it on My Last Affair acting as a gentle contrast to the blues style of Jimmy Rushing 1940s edit The band became increasingly dependent on arrangers to provide its music These varied from players within the band such as Eddie Durham and Buck Clayton to professional arrangers from outside the group who could bring their own character to the band with each new piece External arranger Andy Gibson brought the band s harmonic style closer to the music of Duke Ellington with arrangements from 1940 such as I Never Knew and Louisiana introducing increased chromaticism to the band s music Tab Smith contributed important arrangements at this time such as Harvard Blues and others including Buster Harding and veteran arranger Jimmy Mundy also expanded the group s repertoire Thelma Carpenter replaced Helen Humes as the new female vocalist notably recording I Didn t Know About You for Columbia Records 9 But the many new arrangements led to a gradual change in the band s sound distancing the group musically from its Kansas City roots Rather than the music being built around the soloists with memorised head arrangements and riffs the group s sound at this time became more focused on ensemble playing closer to the East Coast big band sound This can be attributed to the increasing reliance on arrangers to influence the band with their music It suggested that Basie s ideal of a big band sized group with the flexibility and spirit of his original Kansas City 8 piece was not to last 10 During the World War II years some of the key members of the band left the drummer Jo Jones and tenor saxophone player Lester Young were both conscripted in 1944 leading to the hiring of drummers such as Buddy Rich and extra tenor saxophonists including Illinois Jacquet Paul Gonsalves and Lucky Thompson The musicologist Gunther Schuller has said that when Jo Jones left he took some of the smooth relaxed style of the band with him Replacements such as Sonny Payne drummed much louder and raised the dynamic of the band to a harder more clamorous brass sound 11 The ban on instrumental recordings of 1942 1944 adversely affected the finances of the Count Basie Orchestra as it did for all big bands in the United States Despite taking on soloists from the next generation such as Wardell Gray Basie was forced to temporarily disband the group for a short period in 1948 before dispersing again for two years in 1950 For these two years Basie led a reduced band of between 6 and 9 people featuring performers such as Buddy Rich Serge Chaloff and Buddy DeFranco The Second Testament edit Basie reformed the jazz orchestra in 1952 for a series of tours not only in the United States but also in Europe in 1954 and Japan in 1963 The band released new recordings some featuring guest singers such as Joe Williams Frank Sinatra Ella Fitzgerald and Billy Eckstine All relied on contributions from arrangers some of whom are now synonymous with the Basie band Neal Hefti Quincy Jones and Sammy Nestico Michael G Nastos wrote of the recording with Eckstine When the Count Basie Orchestra consented to team up with vocalist Billy Eckstine choruses of angels must have shouted hallelujah The combination of Basie s sweet jazz and Eckstine s low down blues sensibilities meshed well on this one shot deal a program mostly of downtrodden songs perfectly suited for the band and the man 12 13 This new band became known as The New Testament or The Second Testament 14 With albums such as The Atomic Mr Basie 1958 April in Paris 1957 and Basie Plays Hefti 1958 the new Count Basie Orchestra sound became identifiable The sound of the band was now that of a tight ensemble heavier and more full bodied contrasting with the riff based band of the late 1930s and early 1940s Whereas previously the emphasis had been on providing space for exemplary soloists such as Lester Young and Buck Clayton now the focus had shifted to the arrangements despite the presence of soloists such as trumpeter Thad Jones and saxophonist Frank Foster This orchestral style continues as the typical sound of the band up to the present day which has been criticized by some musicologists In his book The Swing Era Gunther Schuller described the group as perfected neo classicism a most glorious dead end 15 However jazz critic Martin Williams offers a differing view In his book Jazz Heritage Williams wrote the following about a 1959 recording obviously this Basie orchestra is an ensemble whose virtues center on discipline precision and collective power 16 In his book The Jazz Tradition Williams wrote Since the mid fifties the Count Basie Orchestra has been a superb precision ensemble and perhaps the greatest brass ensemble of the century And that fact adds an irony to a distinguished career for it was not always such 13 Continuing band edit The Count Basie Orchestra continued releasing recordings and albums after Basie s death in 1984 For example Basie is Back 2006 features new recordings of classic tunes from the Basie Orchestra s catalog including the band s early hit One O clock Jump and April in Paris The Basie band still collaborates with high profile singers such as Ray Charles in Ray Sings Basie Swings 2006 and with Allyn Ferguson on the album Swing Shift 1999 After Basie s death the band played under the direction of some of the players he had hired including Thad Jones Frank Foster Grover Mitchell Bill Hughes and Dennis Mackrel The band is currently under the direction of trumpeter Scotty Barnhart Leaders of the Count Basie Orchestra editCount Basie 1935 1984 17 Thad Jones 1985 1986 18 Frank Foster 1986 1995 18 Grover Mitchell 1995 2003 18 Bill Hughes 2003 Sept 2010 19 Dennis Mackrel 2010 2013 20 Scotty Barnhart 2013 present 21 Awards and honors edit2007 Long Island Music Hall of Fame 2005 Inducted Nesuhi Ertegun Jazz Hall of Fame 2002 Lifetime Achievement Award 1984 Best Jazz Instrumental Performance Big Band 88 Basie Street 1983 Winner NEA Jazz Masters 1982 Best Jazz Instrumental Performance Big Band Warm Breeze 1981 National Trustees Award 1981 Honoree Kennedy Center Awards 1981 Honoree Hollywood Walk of Fame 1980 Best Jazz Instrumental Performance Big Band On The Road 1977 Best Jazz Performance By a Big Band Prime Time 1976 Best Jazz Performance by a Soloist Instrumental Basie and Zoot 1970 Initiated in Phi Mu Alpha Sinfonia 1963 Best Performance by an Orchestra For Dancing This Time By Basie Hits of the 50s and 60s 1960 Best Performance by a Band for Dancing Dance With Basie 1958 Best Performance by a Dance Band Basie The Atomic Mr Basie 1958 Best Jazz Performance Group Basie The Atomic Mr Basie 22 Discography editFor recordings by Count Basie without his big band see Count Basie discography 1937 1939 Brunswick and Decca labels edit The Original American Decca Recordings 1937 1939 GRP Decca 1939 1950 Columbia and RCA labels edit Super Chief 1936 1942 Columbia The Complete Count Basie Volumes 1 10 1936 1941 CBS The Complete Count Basie Volumes 11 20 1941 1951 CBS Count Basie Volume 1 The Count and the President 1936 1939 CBS Count Basie Volume 2 Lester Leaps In 1939 1940 CBS Count Basie Volume 3 Don for Prez 1940 1941 CBS Count Basie Volume 4 One O Clock Jump 1941 1942 CBS Count Basie Volume 5 Avenue C 1942 1945 46 CBS Count Basie Volume 6 The Orchestra and the Octet 1946 1950 51 CBS Count Basie and His Great Vocalists 1939 1945 Columbia America s No 1 Band The Columbia Years 1936 1964 Columbia 4 CD Complete Original American Victor Recordings 1941 1950 RCA sessions reissued on Definitive Kansas City Powerhouse 1929 1932 1947 1949 RCA Bluebird Planet Jazz 1929 1932 1947 1949 RCA BMG 1950s edit The Count 1952 1955 Clef Basie Jazz 1952 1954 Clef Basie Rides Again 1952 1956 Clef contains some tracks released on Basie Jazz The Swinging Count 1953 1956 Clef contains some tracks released on Basie Jazz Dance Session 1953 Clef Dance Session Album 2 1952 1954 Clef The Complete Roost Recordings 1954 Roost Stan Getz box set with Getz guesting with Basie on a three tracks at the end of the set King of Swing 1953 1954 1956 Clef contains tracks released on Dance Session and Dance Session Album 2 Basie Roars Again 1953 1954 1956 Clef contains tracks released on Dance Session and Dance Session Album 2 Basie 1955 Clef reissued as The Band of Distinction 1956 Verve Count Basie Swings Joe Williams Sings with Joe Williams 1955 Clef April in Paris 1955 1956 Verve The Greatest Count Basie Plays Joe Williams Sings Standards with Joe Williams 1956 Verve Metronome All Stars 1956 1956 Clef with Ella Fitzgerald and Joe Williams Hall of Fame 1956 Verve Basie in London live 1956 Verve One O Clock Jump with Joe Williams and Ella Fitzgerald 1957 Verve Count Basie at Newport live 1957 Verve The Atomic Mr Basie 1958 Roulette Basie Plays Hefti 1958 Roulette No Count Sarah with Sarah Vaughan 1958 EmArcy Sing Along with Basie with Joe Williams and Lambert Hendricks amp Ross 1958 Roulette Breakfast Dance and Barbecue live 1958 Roulette Not Now I ll Tell You When 1958 Roulette Welcome to the Club with Nat King Cole 1959 Capitol Basie One More Time 1959 Roulette Basie Eckstine Incorporated with Billy Eckstine 1959 Roulette In Person with Tony Bennett 1959 Columbia Chairman of the Board 1959 Roulette Strike Up the Band with Tony Bennett 1959 Roulette Everyday I Have the Blues with Joe Williams 1959 Roulette Dance Along with Basie 1959 Roulette 1960s edit I Gotta Right to Swing with Sammy Davis Jr 1960 Decca Just the Blues with Joe Williams 1960 Roulette The Count Basie Story 1960 Roulette Not Now I ll Tell You When 1960 Roulette Kansas City Suite composed by Benny Carter 1960 Roulette Count Basie Sarah Vaughan with Sarah Vaughan 1961 Roulette First Time The Count Meets the Duke with Duke Ellington 1961 Columbia The Legend composed by Benny Carter 1961 Roulette Basie at Birdland live 1961 Roulette Back with Basie 1962 Roulette Easin it 1962 Roulette Basie in Sweden live 1962 Roulette I Left My Heart in San Francisco with Tony Bennett 1962 Columbia Sinatra Basie An Historic Musical First with Frank Sinatra 1962 Reprise On My Way amp Shoutin Again 1963 Verve This Time by Basie 1963 Reprise More Hits of the 50 s and 60 s 1963 Verve Li l Ol Groovemaker Basie 1963 Verve Ella and Basie with Ella Fitzgerald 1963 Verve Basie Land 1964 Verve It Might as Well Be Swing with Frank Sinatra 1964 Reprise Pop Goes the Basie 1965 Reprise Basie Picks the Winners 1965 Verve Our Shining Hour with Sammy Davis Jr 1965 Verve Arthur Prysock and Count Basie with Arthur Prysock 1965 Verve Basie Meets Bond 1966 United Artists Live at the Sands Before Frank live 1966 1998 Reprise Sinatra at the Sands with Frank Sinatra live 1966 Reprise Basie s Beatle Bag 1966 Verve Broadway Basie s Way 1967 Command Hollywood Basie s Way 1967 Command Basie s Beat 1967 Verve Basie s in the Bag 1967 Brunswick The Happiest Millionaire 1967 Coliseum Half a Sixpence 1967 Dot The Board of Directors with The Mills Brothers 1968 Dot Manufacturers of Soul with Jackie Wilson 1968 Brunswick The Board of Directors Annual Report with The Mills Brothers 1968 Dot Basie Straight Ahead 1968 Dot How About This with Kay Starr 1968 Paramount Standing Ovation live 1969 Dot Basic Basie 1969 MPS Basie on the Beatles 1970 Happy Tiger High Voltage 1970 MPS Afrique 1971 Flying Dutchman Have a Nice Day 1971 Daybreak Bing n Basie with Bing Crosby 1972 Daybreak The Songs of Bessie Smith with Teresa Brewer 1973 Flying Dutchman Pablo years edit Good Time Blues live 1970 Flip Flop amp Fly with Big Joe Turner live 1972 Jazz at Santa Monica Civic 72 with Ella Fitzgerald live 1972 Fun Time live 1975 Basie Big Band 1975 I Told You So 1976 Prime Time 1977 Montreux 77 live 1977 Milt Jackson Count Basie The Big Band Vol 1 1978 Milt Jackson Count Basie The Big Band Vol 2 1978 Live in Japan 78 live 1978 A Classy Pair with Ella Fitzgerald 1979 On the Road live 1979 A Perfect Match with Ella Fitzgerald live 1979 Digital III at Montreux live 1979 Kansas City Shout with Big Joe Turner 1980 Warm Breeze 1980 Send in the Clowns with Sarah Vaughan 1981 Farmer s Market Barbecue 1982 Me and You 1983 88 Basie Street 1983 Fancy Pants 1983 Post Count Basie albums edit Long Live the Chief 1986 Denon Diane Schuur amp the Count Basie Orchestra with Diane Schuur live 1987 GRP The Legend the Legacy 1990 Denon Big Boss Band with George Benson 1990 Warner Bros Freddie Freeloader with Jon Hendricks 1990 Denon The Count Basie Orchestra Live at El Morocco live 1992 Telarc Corner Pocket live 1992 LaserLight Joe Williams and the Count Basie Orchestra with Joe Williams live 1993 Telarc Basie s Bag live 1994 Telarc Jazzin with Tito Puente amp India 1996 RMM Live at Manchester Craftsmen s Guild live 1996 Blue Jackel At Long Last with Rosemary Clooney 1998 Concord Jazz Count Plays Duke 1998 MAMA Swing Shift 1999 MAMA Basie is Back Recorded Live in Japan 2006 Village Music Eighty Eight s Concord Ray Sings Basie Swings with Ray Charles 2006 Concord Sinatra Vegas with Frank Sinatra live compilation 2006 Reprise 4 CD DVD A Swingin Christmas Featuring The Count Basie Big Band with Tony Bennett 2008 Columbia Swinging Singing Playing 2009 Mack Avenue A Very Swingin Basie Christmas 2015 Concord Standing Room Only with Frank Sinatra live compilation 2018 Capitol All About That Basie 2018 Concord 23 Live at Birdland 2021 Candid 24 References edit Basie William Bill Count Club Kaycee University of Missouri Kansas City 1996 archived from the original 1 June 2009 accessed 8 June 2011 Moten Benjamin Bennie Club Kaycee University of Missouri Kansas City 1996 archived from the original 31 January 2009 accessed 8 June 2011 Club Reno aka the Reno Club Club Kaycee University of Missouri Kansas City 1996 archived from the original 13 February 2009 accessed 8 June 2011 Williams Martin Jazz What Happened in Kansas City American Music Vol 3 No 2 Illinois University of Illinois Press Summer 1985 p 176 Schuller Gunther 1989 The Swing Era Oxford Oxford University Press p 225 The Swing Era p 237 The Swing Era p 226 Jackson Arthur The World of Big Bands The Sweet and Swinging Years Vancouver David amp Charles 1977 p 42 Count Basie and His Orchestra I Didn t Know About You Red Bank Boogie 1945 Shellac Discogs The Swing Era p 258 The Swing Era p 261 Nastos Michael G Count Basie Basie and Eckstine Inc AllMusic Retrieved August 28 2021 a b Williams Martin The Jazz Tradition New And Revised Edition New York Oxford University Press 1983 p 122 Cuscuna Michael Sleeve notes from The Complete Atomic Basie CD 1994 Schuller Gunther The Swing Era New York Oxford University Press 1989 p 262 Williams Martin Jazz Heritage New York Oxford University Press 1985 p 29 CBO History www thecountbasieorchestra com a b c Ghost band Grove Music www oxfordmusiconline com 2003 doi 10 1093 gmo 9781561592630 article J166900 ISBN 978 1 56159 263 0 Retrieved 2019 04 04 Koch Lawrence 2003 Hughes Bill Grove Music www oxfordmusiconline com doi 10 1093 gmo 9781561592630 article J210900 ISBN 978 1 56159 263 0 Retrieved 2019 04 04 Dennis Mackrel dennismackrelmusic com Retrieved 2019 04 04 BWW News Desk Scotty Barnhart Named New Director of Count Basie Orchestra BroadwayWorld com Retrieved 2019 04 04 Count Basie GRAMMY com 2019 02 15 Retrieved 2019 04 04 Count Basie Orchestra All About That Basie Review by Alex Henderson NYCJR April 2019 Issue 204 page 16 retrieved 4 April 2019 New Album Live at Birdland Out September 25th Other sources editAtkins Ronald ed 2000 Jazz From New Orleans to the New Jazz Age London Carlton Books Stowe David W Jazz in the West Cultural Frontier and Region During the Swing Era The Western Historical Quarterly Vol 23 No 1 Utah Utah State University February 1992 External links editCount Basie Orchestra Official website Mack Avenue Artist Page CNN 2010 Interview Retrieved from https en wikipedia org w index php title Count Basie Orchestra amp oldid 1189342604, wikipedia, wiki, book, books, library,

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